Never trust the artist. Trust the tale. The proper function of the critic is to save the tale from the artist who created it.

The world fears a new experience more than it fears anything. Because a new experience displaces so many old experiences. . . . The world doesn't fear a new idea. It can pigeon-hole any idea. But it can't pigeon-hole a real new experience.

Recklessness is almost a man's revenge on his woman. He feels he is not valued so he will risk destroying himself to deprive her altogether.

Behold then Septimus Dodge returning to Dodge-town victorious. Not crowned with laurel, it is true, but wreathed in lists of things he has seen and sucked dry. Seen and sucked dry, you know: Venus de Milo, the Rhine or the Coliseum: swallowed like so many clams, and left the shells.

The great crime which the moneyed classes and promoters of industry committed in the palmy Victorian days was the condemning of the workers to ugliness, ugliness, ugliness: meanness and formless and ugly surroundings, ugly ideals, ugly religion, ugly hope, ugly love, ugly clothes, ugly furniture, ugly houses, ugly relationship between workers and employers. The human soul needs actual beauty more than bread.

Death is the only pure, beautiful conclusion of a great passion.

No absolute is going to make the lion lie down with the lamb: unless the lamb is inside.